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5 Twitter Marketing Strategies

5 Twitter image

By Johnny Dwinell

Twitter is an awesome surgical marketing tool

Twitter

With over 250 million active users, you have an amazing FREE tool for finding people that are like-minded and connecting with them; like a cocktail party of sorts.  After you have recorded your masterpiece, you need to bring it to the world.  Twitter allows you to find people that are predisposed to liking your kind of music and facilitates a relationship if you have the balls to reach out and the brains to do it intelligently.  Here are 5 Twitter marketing strategies to help you get your music out there and build a tribe

Define And Find Your Audience

Who is your audience?  Is it EDM?  Is it Metal?  Is it Folk?  Is it Country?  Twitter even allows you to find sub genres within a certain genre, like Pop-Country, Country-Rock, Death Metal, Black Metal, etc.  I always tell file0002005996090my artists to think of what artist they would love to open for if they could be on any tour.  Typically this is going to get the artist thinking of the type of audience that would most likely dig their music.  For instance, if you are a Metal band and think that Metallica fans would love your bands music as well, then an opening slot on a Metallica tour would be super beneficial to your band, right?  Well Metallica has about 2 million Twitter followers that you can connect with.  Simply go to the search bar and type in Metallica.  You will then pull up their Twitter account.  Now, click on “Followers” and you have all their followers at your fingertips.

Twitter # Search and @Search

file3371281797656Continuing on with the Metallica example, anybody on Twitter that is talking about Metallica would probably like your music as well, yes?  So if you go to the search bar and type in @Metallica you will bring up many different Twitter accounts that have recently posted a comment about Metallica.  You can also use this same method for #Metallica.  What if you have a song that has the same vibe as a certain song, say like “Margaritaville”.  Simply type in #Margaritaville and you will find a slew of people who just used #Margaritaville in a recent tweet.

FOLLOW THEM!

Now you need to follow these people.  If you have a relatively new account you can start by following 30 people per day for a month and avoid account suspension.  Then Twitter Follow imagebump that number up to 60 people per day for a month then you can safely follow up to 120 people per day and not be suspended.  If your account is older than 1 year and seasoned (meaning you have been tweeting every now and again) then you can start following 60 per day for a month and then bump up to 120 people per day.  This is called the “follow first” method.  Think of it as an introduction and a handshake.  A certain percentage of these people will follow you back.  Then you will want to Unfollow the people who don’t follow you back.  I would only Unfollow as many people as you follow each day.  Tweepi, FriendorFollow, Tweetdeck, Hootesuite, are all different sites that will allow you to easily discover who is following and who isn’t; they all have free account levels for you to try out.

Content, Content, Content

The more you tweet with content that you like the more you will build your Twitter Content imageTwitter tribe.  For instance, live footage from shows, BTS (behind the scenes) footage backstage at a show, videos of music you like, videos or links to your favorite movie scenes, links to other artists you like, inspirational quotes or quotes that resonate with you are really good content that tends to get retweeted often.  Avoid hype for your band.  Hype works when you are using a branding marketing approach because there are tons of eyeballs or ears that are watching or listening to one message at the same time.  Please understand that hype doesn’t work on social media because everyone’s experience is 1 on 1.  If you use hype on any social media platform you will just look like an idiot; total turn off.  This content will begin to foster and deepen relationships with people online.  At Daredevil Production  we blog every week so this provides content that people like to consume.

Expose Your Music

HINT: Start THANKING and stop asking.  I hate it when someone follows me on Twitter or when I follow them and they come right out of the box with “Check out my music”; it’s annoyingTwitter Exposure Hand image.  Even if they ask politely it’s a total turnoff.  It’s REALLY EFFING annoying when they panhandle, like “I really need help PLEASE check out my music”; ugh.  Think of it this way, you meet someone for the first time at a cocktail party and you say “Pull your pants down I want to have sex”.  Oh wait, you ask POLITELY for them to pull their pants down because you want to have sex.  99.99% of the time it’s not gonna work man.  Twitter is the same way.  Think of it as a cocktail party.  I recommend you start THANKING people and give something back.  You are NOT using social media to sell so much as you are using it to create relationships.  GIVING is a great way to start a relationship.  Send a DM or Tweet “Wow!  Thank you so much for the follow.  I want you to have 7 free songs!  Enjoy!”  Watch how many downloads you get!  Now, assuming you are not sending out total crap, you will begin to develop a following.

Are you using Twitter to expose people to your music?

Are you thinking of Twitter as an appreciating asset?

With this method and CONSISTENT cultivation and Twitter activity you can gain at least 1,000 new, targeted followers each and every month.  I can tell you that Daredevil Production gains a solid 1,800 per month so 1,000 per month is easily doable.  Do the math, man, that’s 12,000 followers per year; and it’s constantly growing.

P.S. if you use Tweepi you can find your audience and then sort by location.  Think about that, you can use it to follow every like minded Twitter user in your region to help boost your live following!

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Don’t Sing On Your Song Demo Dummy!

By Johnny Dwinell

Don’t sing your song demo dummy!

If you do, especially if you’re a novice at creating song demos (not necessarily singing), you will inevitably limit your opportunities to file000819242154sell the song; you will end up casting a “smaller net” regardless of your vocal ability.   All too often, I see aspiring songwriters who haven’t really gotten the performing/recording artist bug out of their system spend good money and confuse the intent of a song demo with that of an artist track.  They want to sing, I suppose, to scratch their respective artist “itch” and I TOTALLY get that!  Just make sure you are clear on what you need.  One can’t expect a minivan, which is super effective for hauling groceries and kids, to perform like a Ferrari and take corners at 90 mph.  Conversely, one cannot be upset that a Ferrari will not hold 4 kids and all the groceries.

Huh?

Listen; whenever you spend money, especially when there is little money to spend (which requires you to make decisions), you need to ensure you are spending wisely.  So the first thing you need to ask yourself is what is the intent of the recording?  What function is the recording supposed to serve?

Let’s break them both down.

 

Artist Tracks

The intent of an artist track is to sell the track and the artist.

A producer’s job is to put the artist in the best possible light sonically & artistically and blow people away so that they will spend money purchasing the product (aka the CD); this is selling the artist.  This takes more time and certainly expertise in the studio.  More time and expertise in the studio cost more money.

As an artist, you intend to sell the track.  Higher union rates will apply if the intent of the recording is to generate revenue; again, more money.

If your band will actually be doing the recording then you will need a combo platter of multiple takes during tracking session to get the recording tight and probably some editing on the back end to help, depending_DSC6357 on the musicianship of the players.  Either of these two actions requires time and expertise in the studio which requires more money.

You want people to say “Wow!  Who the hell is that singing?”  This means your producer better be crafting a KILLER vocal track, man; make no mistake this is an art form.  This art form requires time & expertise and that costs money.

You want people to say, “That unexpected band break is freaking COOL MAN!”  This means your producer is allowing the band the time they need to craft something unique and special.  You guessed it, that extra time costs more money.

20131129_140442As the artist you make choices with regards to arrangement, song structure, song choice, production, genre, key, vibe, etc. that are consonant to you artistically and refined to your lane; which is more subjective than objective by definition.  Ultimately the intent of the recording is to move people with your unique artistic stamp.  If you are a professional artist the track must generate revenue by definition. This activity will hopefully generate additional returns through sales of subsequent merchandise, concert tickets, sponsorships, endorsements, etc.

The juice should be worth the squeeze financially, but you get the picture, right?  An artist track is all about YOU.

 

Song Demos

The intent of a song demo is to sell the song, specifically the lyric, melody, and vibe of the song to a major label producer, a major label A&R exec, a publishing company, or a major label artist.  A song demo is not supposed to Song Demo Melodyspotlight YOU in any way as an artist as they fully intend to re-cut the song with their band and their artist on the mic.  It is naïve to hope that an amazing vocal performance would possibly get a producer interested in working with you (as an artist) seeing as they are focused on finding songs for the project currently at hand. Statistically, this is just a distraction from your mission, which is the song pitch.  Remember, in the new music market the responsibility for artist development falls on the artist there is very little ROI for producers and labels to develop acts anymore as the business model has simply changed; they just aren’t equipped to do it.  So a tactic like this is a high percentage shot, like a full court basketball shot that’s nothing-but-net; possible but highly unlikely.  A better tactic would be to make the most effective song demo you could and increase your chances to get the cut!  That will garner more attention from more people who could help your career than betting the farm on a limited set of ears that you are engaging with because they are focused on entirely different projects.  Simply put, getting a cut gets your talent far more exposure than crossing your fingers that the few people who hear the demo will defocus from their current job to explore a relationship with you as an artist.  Make sense?

 

If you are a GREAT singer

You will have a unique stylistic approach to your song.  Yes the vocal track will be amazing but what if your style doesn’t resonate with the major label artist you are pitching it to?  What if the producer recognizes that phrasing the vocal in a different manner could make the song become viable for multiple genres or lanes within a certain genre; thus creating more opportunities for the song to get cut?  Could you effortlessly change your phrasing?  You want a cut, right?

 

If you are an AVERAGE singer

(Like me) you will have a unique stylistic approach to your song.  You will end up spending more money on the demo on multiple vocal takes during the session and in post production (vocal tuning) time to make it less sucky.  This will needlessly increase the cost of your demo. file0001596147731A song demo shouldn’t result in some epic production with the track because that’s too subjective for the intent.

What if the artist you are pitching too doesn’t like your taste in production, will that color their decision to cut your song?

What if the artist you are pitching too loves your taste in production but their project is going a different way, will that affect their ability to “hear” themselves singing your song for this particular project?

Will the production you create “date” the track making the demo recording less durable over time?

If you have artist tracks that you wish to use a song pitches, you might consider spending a few extra bucks to get a pro singer to cut the vocal and a new mix solely for the song demo.

The song demo is all about the SONG; keep it there.

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What’s In Your Toolbox?

By Johnny Dwinell

What’s in your toolbox?  What’s in your emotional toolbox, your artistic toolbox, your business toolbox, your marketing toolbox?

Huh?

I used to have a huge fear of commitment.

OMG, what??

Years ago after I got off the road as the lead singer for a hair band I realized I was having challenges creating relationships with file6161313070963women that were deeper than just sex.  I was really worried that I would end up old and alone with a house full of cats (LOL, I’m TOTALLY a dog person, but you get the point).  As you can imagine after a good 7 years as a full time 80’s-rock-band-front-man-on-permanent-tour, I had encountered many women. I also managed to experience some longer, emotionally profound relationships with a few quality women who I found intriguing, smart, and captivating; but still, scared to commit. Yikes!

 

I definitely needed some help so I sought out therapy at the brazen request of a freshly-fired girlfriend who assumed she was leaving Nashville with me to move to California (I still don’t know how the hell she thought that, man, it wasn’t like we were living together or dating that long, but I digress).  She actually handed me a number of a therapist in Pasadena (SO RANDOM) and sternly told me to call him the minute I got out there.

I did call him and I recommend therapy for everyone.  Therapy is like college for your own soul. Therapy is all about finding out who YOU are and feeling comfortable in your own skin; which I desperately needed.  This therapist, Stan, was amazing and is still a great friend and spiritual adviser to me.  During the first session he asked me why I was there and I explained.  As the session ended he said, “Johnny, I’m gonna bet that you don’t have sisters or if you do, they are younger and by at least 4 years.”

I said, “WTF??  How do you know that?” (Not expecting the fortune telling element at all…he was right, I have 2 amazing sisters 4 years and 7 years younger than me)

He replied, “Because you don’t know shit about women.”

I laughed out loud at the silly man!  “Stan, I have forgotten about more women than most men will ever have.”

Stan countered, “Yeah, I’m sure that’s true, man, but you still don’t know shit about women so you’re scared to death of getting too close to them.”

Game! Set! Match!

I was cornered with logic. He went on to explain that a boy with older sisters or sisters who are closer to his age (close enough that they are in his social/peer groups growing up) offer a front row seat to the trials and tribulations of romantic relationships from the female perspective that said boy is more inclined to respect, internalize and learn from.  When the sisters are younger and out of your peer group they are just a nuisance.assorted_tools

True story again!

I was essentially lacking a tool in my emotional toolbox and I had just defined exactly what tool was missing.  You see, that was half the battle.  Now I could move forward with a clear plan to improve my life.  Identifying the missing tool actually got me excited to learn about the ever fearful unknown.  I was totally stoked to explore, which lessened the fear of the unknown.  This internal encouragement couldn’t have happened had I not understood that I was lacking somewhere.  Get it?

You Have To Find the Missing Tools In Your Toolbox

As humans and especially artists we are (hopefully) inclined to constantly improve.  We want, need, and search for new steps in the staircase of development that lead us to higher plateaus of emotional and artistic impeccability.  However, this requires change to occur.  As humans and especially artists, we are quite resistant to change; this results in pain and suffering.  This pain and suffering causes stagnation, idle artistry, and (gasp) mediocrity!

The thing is, our lives and our art can be constantly improving if we understand one simple concept; you’re human so you never have all the tools you need.  I find this to be a common roadblock with the talent we work with as they have a naive understanding of (or simply ignore) the process of artistic development; it IS A PROCESS and it takes time.

The main part of the process is to be open to the process.

Part of the process is to understand your strengths and capitalize on them.Toolbox process image

Part of the process is to recognize your weaknesses and improve upon them.

Part of the process is unfettered exploration; the constant search for tools you don’t have and the curiosity to discover how they will benefit your journey.

Part of the process is to identify mentors.

Part of the process is to allow yourself to be mentored artistically, businesswise, relationship-wise, marketwise, communication-wise, etc.

Part of the process is humility.

Part of the process is acceptance.

You are born with some great tools. Maybe you have incredible talent, maybe you have incredible drive, maybe you’re an expert politician, maybe you’re a good leader, maybe you’re good at creating relationships, and maybe you understand business.

But you don’t have all the tools.

What are you missing?

Do you need:

  • Business acumen?
  • Marketing expertise?
  • Vocal lessons?
  • Recording experience?
  • Better people-skills?
  • Communication skills?
  • Songwriting proficiency? (It’s not magic it’s a CRAFT!)
  • Stage presence?
  • Attitude adjustments?
  • Ego check?
  • More practice?
  • More knowledge?
  • Focus?
  • Clarity?

So which ones are you missing?

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Are You A Rip-Off Artist?

Rip-Off Artist Feature image

By Johnny Dwinell

Rip-Off Artist alert image

Are you a rip-off artist?

Huh?

Yeah, man, John Lennon wasn’t the first to say, “Good artists borrow, great artists steal.”

Beethoven took from:

  • Mozart (they arguably met and Mozart arguably gave Beethoven lessons)

Tom Petty took from:

  • Bob Dylan – this one’s obvious, right??Rip-Off Artist Tom petty image
  • The Continentals (feat. Don Felder [Eagles])
  • The Beatles

Bob Dylan took from:

David Lee Roth took from:

The Beatles took from:

  • Little Richard
  • Elvis
  • Chuck Berry

Elvis took from (his live show was so based on this vibe):

Chuck Berry took from:

  • T-Bone Walker
  • The Fiddlin’ Powers Family –  Maybellene (his 1st #1 circa 1955) was inspired by “Ida Red” circa 1924 (this was covered and used quite often with many artists btw.)

Rip-Off Artist Willie Dixon image

Led Zeppelin literally PLAGIARIZED (and settled out of court…we DON’T recommend this BTW):

Willie Dixon took from:

Little Brother Montgomery took from:

Rip-Off Artist Little Brother Montgomery image

 

Eric Clapton took from:

 

Muddy Waters took from:

 

Robert Johnson took from:

 

Joan Baez took from:

Rip-Off Artist Pete Seeger image

Pete Seeger took from:

 

 

You get it?

Anyone who is talking about how another artist “ripped off” this artist or that artist … is right. Something had to inspire the artist. Most artists try to emulate something that resonates with them. As a result, they end up with their own style.

So what? Shut up and own up to it!

Make good music. Grow from your influences! USE your influences as a muse!

I submit to all you writers and artists that you are unique. So aside from actually plagiarizing (again, we DON’T condone this behavior), setting out to write your favorite artist’s song will lead you to your own twisted version that is quite exceptional and distinctive. Not for nothing, but it’s a pretty good writing exercise!

Rick Rubin loves to hand out writing assignments to his artists, typically right before they are about toRip-Off Artist Pour some sugar image begin recording, so the pressure is really on. Rick told Rivers Cuomo from Weezer to write a song with the beat from Def Leppard’s Pour Some Sugar On Me and that assignment ended up being the inspiration for Beverly Hills. Rick also told Tom Petty to do the same exact thing and that was the inspiration for It’s Good To Be King.

 

 

Now go play pretty for the world.

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10 Superstars Who’d Fail On American Idol

American Idol Feature image

By Johnny Dwinell

What is your lane?

Do you really know?

Should it change? Are you sure?

Keith Urban on American Idol

I was inspired by Keith Urban after hearing his comment on American Idol last week. He said something to the effect of (and I’m paraphrasing), “If these people would just listen to our suggestions American Idol imageinstead of simply reacting to the failure they might learn something.” Wow, I see struggling writers and artists deal with failure like this all the time. They focus on how they feel about a particular rejection rather than HEARING the feedback. I know a lot of you reading this post are suffering and struggling simply because you are focusing on the wrong lane. Once you are in the lane you are supposed to be in, rejection feels like a matter of taste which is not a judgment on you personally, rather than a catastrophic bomb that ruins your self-esteem. A rejection feels like you made a ham sandwich and someone doesn’t like ham as opposed to that person not liking YOU. Then I got to thinking how much of a specific lane American Idol is. There are amazing singers and then there are amazing vocalists; there is a definite difference and AI requires amazing vocalists.

Just because you’re not an amazing vocalist doesn’t mean you can’t achieve your artistic dreams. Setting appropriate goals, defining YOUR lane, and staying in YOUR lane are the keys to achieving your dreams and avoiding the heartache of unnecessary rejections. Let me explain.

I made a living for the better part of 10 years in an 80’s hair-band called Kidd Gypsy. I remember American Idol Kidd Gypsy IMagealways wanting to be a guitar shredder but I never had the right-hand skills (no matter how hard I practiced) to pull it off; this left me incredibly frustrated; for years this pissed me off. Once I realized that tasty guitar solos was my lane instead of shredding guitar solos, I eliminated a huge amount stress that was completely pointless and preventable; I was trying to be in the wrong lane. I was NEVER going to win any vocal competitions either, man, but it sure didn’t stop me from being a great front man and a decent enough singer not to drive people out of the club, LOL. This, in turn, allowed me to make a living doing what I loved to do instead of being depressed all the time. Kelly is a vocal GOD; it’s true. If you go to our Artist Tracks page on the DDP site and listen, 99% of the BGVs are Kelly; he’s like a machine in the studio. I could NEVER pull that off. I KNEW my lane was never going to be in the vocal God category; I had to entertain, I had to find a different way to be an artist.

Get it?

Find your strong suit and work on that. Constantly improve your weaknesses to be more well-rounded, but make sure that you are not trying to make a career out of your weaknesses. All this will do is leave you discouraged.

This got me thinking about how many SUPERSTAR artists are not great vocalists. Here is a list of 10 Superstars who’d fail on American Idol. All these artists are famous, some of them are considered more artistically important than others, some of them are amazing business people, some of them are amazing entertainers, some of them are good singers, but not one of them is an amazing vocalist.

10 Superstars Who’d Fail On American Idol

  1. Mick Jagger – The Rolling Stones are certainly one of the longest lasting iconic bands in history (if not the most). Mick is a great front man, songwriter, business man (he kept the Stones rolling for the 20 years that Keith Richards checked out on heroin), and a sex symbol for sure. However, Mick wouldn’t be your first call to cut BGVs on a pop record.
  2. Bob Dylan – I think all would agree that Bob Dylan is one of the most important and influential songwriters of the 20th century. Listening to him talk can be as difficult as listening to him sing, LOL. Don’t get me wrong. I am a Dylan fan, but let’s face it, it was always about what he was saying not how he was singing. His lane was the writing. We are all drawn in by the message.
  3. David Lee Roth – Van Halen (not Van Hagar) is one of my very favorite bands. DLR is American Idol DLR Flying imagearguably the best front man on the planet. He really took the definition of “Rock Star” to a whole new level. I saw them live on the 1984 tour and he hardly sang! I didn’t care. I couldn’t take my eyes off him! He is a true star, extremely stylistic, and very compelling on and off the stage. However, we would never hire him to sing any demos, LOL
  4. Kenny Chesney – Kenny Chesney is currently one of the biggest stars on the planet; he has very cleverly carved a niche as the new “Jimmy Buffet” somehow. He will out work ALL of you put together and really understands how to be a star. (Just look at his old pictures when he first got signed. He was chubby, and now he’s extremely fit…do you have any idea how much work is required to maintain that?) If you really listen to all his songs, they focus on a very limited amount of notes because big melodies are NOT in his lane.
  5. Tim McGraw – I have several very close friends that work in the McGraw camp and I can tell you for certain Tim is extremely intelligent and a great businessman. They run a tight ship and the crew enjoys working for him. Tim has an uncanny understanding of his brand, of when and how to push that envelope. Tim is one of the few artists who will give all the songwriting credit to the songwriters as opposed to taking some credit and subsequent publishing revenue. If you really listen to the songs he chooses, they astonish with the lyrical content instead of big tricky melodies; they’re simple, honest, and good.
  6. Jennifer Lopez – J.Lo is a dancer, an actress, a television personality, perfumer, American Idol JLo Imagephilanthropist, fashion designer, producer, recording artist, and an incredible businesswoman, but singing is her weak suit to be sure. She was definitely fearless as she became the first Latina actress to make over 1 million dollars on a movie with Out of Sight. After she filmed Selena, she ventured into the music industry despite people close to her expressing their fears that she would ruin her growing reputation with an album. She didn’t let her mediocre vocal prowess get in the way of her 300 million dollar fortune. Ironically she would never get on American Idol as a contestant.
  7. Madonna – In 2013 Madonna’s net worth exceeded $650 million. She is a master at reinventing her music and her image. She is an amazing entertainer; in fact, her last tour grossed over $300 million dollars. I had a friend who engineered many of the Madonna records, I remember him saying that as amazing as she is, Madonna is the poster child for vocal mediocrity. I guess it didn’t stop her at all, huh?
  8. Taylor Swift – is an incredible songwriter, performer, and an extremely hard worker. She GETS IT! Taylor has amassed an incredible following largely due to the songs she co-wrote. She represented a lane that simply was not occupied in the country music market. Think about it, who was writing about, and singing to, teenagers in country music before her? NOBODY! Taylor, Scott Borchetta, and her team created a new lane that was unoccupied – genius! She is quickly becoming a master of the game with regards to television exposure; I think they bring one extra camera to every freaking award show just to ensure they get a million Taylor Swift reaction shots. Taylor accomplished all this, yet she simply isn’t going to win any awards for her vocal prowess. Here’s an example of a particularly bad Grammy performance with Stevie Nicks in 2010. Skip to 2:00 to see what I mean.
  9. Miley Cyrus – Miley got incredible exposure from the Disney show Hannah Montana. She started as an actress and turned that into a singer/songwriter career. Miley’s hard work has built up a $150 million net worth, but again, vocals are not her strong suit.
  10. Paula Abdul – I love Paula Abdul. She’s still just so sexy to me. She also started as a dancer American Idol Paula Abdul imageand choreographer. Then she turned that into a recording career. Paula can’t really sing, either, but she can follow well. In fact that is how they recorded Paula’s 1988 hit record Forever Your Girl. The producers brought in a pro singer named Yvette Marine who sang all the lead vocal parts as guide tracks. Then Paula came in and sang over Yvette’s vocals and they ditched the guide tracks. In fact Marine sued and lost to Abdul’s label, Virgin Records, claiming they left her vocal in the mix on a few parts.

 

 

So there it is. I’m sure you like some of these artists and I’m sure you detest some of them, but no one can deny that massive amounts of people find them absolutely fascinating. None of these artists let a lack of stellar vocal ability get in the way of their artistic endeavors. When I see contestants on American Idol melt down in the face of a “no” or, even worse, constructive criticism, I think they need to focus on singing better but also focus on being mesmerizing.

You don’t have to be the best singer to blow people’s minds.

What is your lane?

Do you really know?

Should it change? Are you sure?

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You Learn To Be An Artist

Learn To Be an Artist Feature image

By Johnny Dwinell

You learn to be an artist

like you learn to be an expert plumber, like you learn to play poker, or like you become a master craftsman working with fine wood furniture.  First you tackle the broad strokes and Learn To Be an Artist Learn button imagethen increasingly you focus on details until you become a student of the game.  Every iconic artist you admire started out as a novice and was so fascinated with the learning and the search for the truth they couldn’t help but continue to improve.  There’s the rub; you first have to be open to the fact that you learn to be an artist and then you must work to continue improving.  Often times that means getting rid of people who are holding you back, however they manifest themselves in your life.  It always means you need to maintain a sense of humility around people who are better than you; be a sponge.  It means you have to always keep working; period.

 

First there are the broad strokes:

  • You learn to play some chordsLearn To Be an Artist Chord Chart image
  • You start singing
  • You start writing songs
  • You play your first gigs
  • You practice for hours to learn songs you like so you can emulate your heroes
  • You get laid
  • You make a lot of mistakes

FYI, you’re not an artist yet, you’re just beginning to mess with music.  For every artist looking back from a professional viewpoint these days are always a disaster.  Hell, John and Paul admitted the first 50-150 songs they wrote were crap!  This is accurate and it’s ok.  We continued to improve because we LOVED the process; we LOVED the journey.

 

Then you start in on some detail:

  • You strive to play chords better, more cleanly, like they do on the records you love
  • You strive to play with the drums
  • You strive to play the covers a bit more accurately with regards to proper voicing and arrangements rather than just playing the chords
  • It’s no longer about making noise that is close, you are after making music
  • You start focusing on trying to sing in pitch more
  • You continue to write and maybe begin to realize that any words put to music do not necessarily make a song.
  • Members of your band are in the band due to pragmatism; they have a van, a P.A. system, the coolest drum kit, or a place to rehearse, etc.
  • You learn from your previous mistakes and grow
  • You make a bunch of new mistakes

You’re not an artist yet; you’re in a band at this point.  If you’re the leader, the creative _DSC2610focal point, the driving force of the band you’re mostly a babysitter to the other members; a politician if you will.  Undoubtedly you begin to lose a few band members at this stage of the game, they get more interested in significant others than music.  This is called “natural selection” or as we called it “The Yoko Factor”, it’s painful but necessary to let them go; so recognize it and let them go. (Read this and think about the melody from Bonnie Raitt’s “I Can’t Make You Love Me”.  Buh-bye.

 

 

Then you really start to dig in:

  • You start to play more gigs
  • The idea of making a living gets serious within you as you start to get some opportunities
  • These opportunities reveal the musical and spiritual weak links in your band; band members continue to change making way for more like-minded mates
  • You begin to experiment with recording (trust me we all suck at recording during this stage but we are FASCINATED so we press on)
  • The recording process reveals that you really aren’t playing with the drums and the drummer thinks time is a magazine
  • This brings up conversations that file000819242154will certainly manifest as confrontations between band members as the cracks in the musicianship are becoming glaringly obvious, it’s a mess.  Some of the cracks are your fault; you hate this but it’s true.  You wonder, “Is it like this on stage?”  Answer:  YES, how could it not be?
  • The strengths in your writing are steadily improving; the weaknesses are typically being ignored.  For instance, you sing like an angel and everyone is always kissing your ass so you really don’t feel the pressing need to improve your lyrics because you could sing the phone book and make people cry; they love you!  Your friends and family naturally choose to focus on delivering positive feedback to you.  So it’s up to you to see past the local and familial adoration and focus on your weak suit to become a more well-rounded writer (Most people don’t)
  • You learn from your previous mistakes and grow.
  • You make a bunch of new mistakes.

At this point you are not an artist.  You are in a band and beginning to tighten the screws; scratching the surface of being a musician.  The work you continue to do is creating small opportunities and the momentum is validation to press on.

 

Now you’re getting serious about living your life making music:

  • You do your first tour (aka a decent string of consecutive dates).  You are now presented with the chance to play a gig, revel in the moment, stew over that night’s performance mistakes in your head, and then fix what you didn’t like the very next day.  (It’s like skiing, you really need to put several days back to back to improve)
  • You find out that after 20 shows in a row, you are a completely different band; you are exposed to the need for professionalism (like how to sound check as efficiently as possible, politicking with band members, schmoozing the club owner/booker) and you begin to understand it; you begin to embrace it.
  • Learn To Be an Artist Drunk singer imageYou also find out the singer can’t party like the rest of the band and keep his voice.  The question is does the singer know this?
  • You finally understand the truth in David Lee Roth’s quote, “There’s Murphy’s Law and then there is the Law of Rock & Roll which states that Murphy completely underestimated the problem” as you run into countless surprise road-blocks with gear, routing, money, band members, production, logistics, weigh station delays, border crossings, transportation breakdowns, emotional breakdowns, local police, State Troopers, disruptions, alcohol, drugs, groupies, STD’s, creepy people, hangers on, etc.
  • You find out that the clubs don’t give a damn about your music, they only care about how many drinks they sell, because they are in the bar business.  You discover this truth after getting fired.  This is your first experience with the “Business” part of show business.
  • Your band is tightening up.  There is some definite attention being paid by the members to the pocket, phrasing, and the feel of the music as opposed to just playing chords.
  • You begin to create slightly better recordings as you slowly begin to digest the truth in the “less is more” approach.  Less Reverb, less effects, less notes, more space.
  • You focus on better performances on your recordings
  • You begin to explore decent sonic quality as you search for different ways to achieve improvement with amp settings, mic placement, sound control, mic chain, EQ’s, compression,  and LESS REVERB (did I say that already?)
  • Your writing continues to improve as you become more comfortable in your own skin, more willing to dig down and relay real feelings instead of stringing cool vowel, consonant, and rhyming sounds together.
  • You learn that mixing your tracks is an art form; one you don’t possess.
  • You learn from your previous mistakes and grow
  • You make a bunch of new mistakes

At this point you are not an artist but you are beginning to be enlightened on the fact that writing is a craft, recording is a craft, playing is a craft.  You are improving!  You are probably getting a little cocky in your head.  Maybe your progress affords you some opportunities for access to real artists where you get schooled once again.  For me, I had well over a year of touring under my belt (probably 500+ shows or more) and I knew everything, all you had to do was ask me, I would be happy to tell you, LOL.  Then I saw the Allman Brothers in the studio for the first time and realized I didn’t know shit about anything.  Bah!  It felt like I was back to square one, I had the wind sucked right out of my sails; like the feeling you get when you go from being king of the hill in 8th grade to the bottom of the barrel as a freshman in high school.  But I was even MORE FASCINATED so I pressed on.

Now You’re Making Money

  • Now you’re getting the hang of it, and certain people are noticing
  • You are beginning to develop a style
  • You spend some money to make a CD to sell at your shows because it’s time to expand your business and you feel you’re ready to make a record.
  • You’re smart and hungry for knowledge so you carefully choose a production team that can advance your sound and your knowledge instead of “studio shopping” and thinking you can produce yourself
  • You get regular access to professional recording experiences.
  • Your production team stumps you with certain questions like “what is your lane?”  “Before we begin what kind of record do you want to make?”  “Who do you feel your audience is?”  “What are we going to do differently to help you stand out from the herd that occupies the same lane?”
  • You learn that your drummer rocks live but under the microscope in the studio he doesn’t cut it Learn To Be an Artist Time Mag imagebecause he is inconsistent with velocities and meter.
  • You learn that singing live is way easier than working a microphone in the studio and you struggle to step up and render the vocal that you believe you can do…but you do it.
  • You learn that your guitar tone leaves a lot to be desired when a mic is put on it and half your pedals make an UNGODLY amount of preventable noise.
  • You learn from your producer who cares that half the songs you wanted on the record are nowhere near as cool as the other half and you have to keep writing
  • You learn through new relationships with pro writers that you are on the right track but you still have a long way to go; you still have a weak suit that needs attention
  • You begin to see the difference between recording music and making records
  • You learn from a misbehaving band member that negative, unstable energy in the recording studio is really bad; he or she goes the way of Pete Willis from Def Leppard.
  • You learn that your bass player plays ahead or “on top” of the kick drum and your engineer will be moving it back.  Your bass player is pissed and secretly embarrassed but you are secretly grateful the engineer will fix it because it sounds better
  • You learn “behind the scenes” stories that break your heart about your favorite bands and how they didn’t play on their own records because recordings are forever and playing live is here and gone.
  • You learn from past mistakes
  • You make a bunch of new mistakes

Congrats, you’re beginning to become an artist.  The next step is up to you.  If you just want to make art for the sake of making art, then so it shall be; a glorious, expensive hobby.  If you want to be a professional artist, than you will have to make some money at this which means a whole new journey learning how to move product.

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A Dead Fish Can Float Downstream

By Johnny Dwinell

“Remember, a dead fish can float downstream, but it takes a live one to swim upstream” – W.C. Fields

Are you a dead fish? 5FdkhUkT

I love this quote.  If you think that money and the right connections equates to “easy street” for your career or that you need these things before you can begin seriously working on your career, you’re a dead fish.  If you are working your backside off every day to write, record, play, making mistakes and learning this business, then you are a live fish swimming upstream; I’m quite sure you feel the pressure of the current as you constantly swim against it.  I was reminded of this quote when I had a conversation yesterday with an artist friend.  We went on a long walk with Scooter McGhee (My Great Dane) and my artist friend was venting some frustrations he was having with the business (I get that a lot), and I feel like he is finally beginning to turn from a dead fish into a live one.

During our walk in the course of his listening and venting he asked me a question.  He asked what I thought about a strategy where he would finish the video he just shot and then pay to have a “showcase” of sorts where he would play the video followed by a live show.  He asked me if I thought we could get him “in front of some people”.

“In front of some people” is a phrase he has used quite often throughout our friendship.

“Johnny, I’ve never really gotten in front of some people before” he would say, “I just need to get in front of some people”.  You see I believe that in his mind, and probably many of yours (which is why I am writing this post today), he feels like if he just got “in front of” the right person everything would be puppy dogs and ice cream; he would have his break and it would be downhill from there.  He is super talented by the way and I believe that if he keeps fighting, he will begin to make a solid living singing and writing songs, but he has to stay in the game (which I’m proud to say he has ramped up his game plan as of late)

I answered his question, “What if we get everyone that is important in this town to your showcase?”

“What if we get you ‘in front of’ all the necessary people and they like you?  What do you think happens next?”

Knowing me well, he wisely avoided an answer and replaced it with a question, “Johnny, what happens next?”

Florida Georgia Line Story

Dead Fish FL GA imageI went into describing the broad strokes on the story of how Florida Georgia Line got their deal.  These 2 guys got “in front of the right people” and somehow landed a production deal with Craig Wiseman who is one of Nashville’s most successful writers and businessmen with his publishing company Big Loud Shirt.  Craig and the producer he chose named Joey Moi (Joey produced the Canadian rock group Nickelback) recorded an EP with Florida Georgia Line and went around town with their massive influence and connections to get a record deal for the duo; everyone passed.

Wha?

How can that be?  ALL the record labels passed?

YES!  Even with a proven hit songwriter and proven producer behind the group, the labels didn’t get it.  There was no social proof to ensure that the duo’s music and sound had any value in the market place, so they passed.

So Wiseman, Moi, and the group hunkered down and launched an incredibly effective marketing campaign/tour of sorts that resulted in 100,000 downloads of “Cruise”.  Boom!  Now, all the record labels that passed on the pair were clamoring to sign them.  Here is where I quote my friend Rick Barker, “Only 1 thing changed.”

  • The songs didn’t change
  • The melodies didn’t change
  • The lyrics didn’t change
  • The production didn’t change
  • The producer didn’t change
  • The record didn’t change

 

The ONLY thing that changed was the perception!

Listen guys, even with all the right people behind you, the work still has to be done.  In the new music business record labels DO NOT DEVELOP TALENT, they buy small businesses.  You are going to have to prove you are marketable with numbers, not dreams.  So if you’re “waiting” to begin working until you “get in front of some people” or if you’re waiting to begin working until you get “discovered” you’re a dead fish floating downstream.

Don’t be a dead fish, they’re boring and they stink.

Attack this new music market and make a place for yourself because it’s never been easier!

Swim upstream and watch the world come to you!

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All About YOU

All about You ROCK image

By Johnny Dwinell

At least once a week Ill get an email asking What does it take to have a successful music career like _____? The short answer is that there are literally a million ways to skin that cat, but the ONLY common denominator in EVERY success story is the artist. Every successful story in the music business has many facets and crazy subplots but they all have an artist, like you;

so its really ALL ABOUT YOU

You have to know that success in any field is about creating relationships

You have to know that creating relationships is never about what they can do for you rather what you can do to add value to them (so start giving more and asking for less, dummy)

You have to be willing to:

  • Listen
  • Relocate
  • Regroup
  • Change
  • Strategize
  • Risk
  • Be Vulnerable
  • Say No
  • Say Yes
  • WORK (harder than anyone else)
  • Tour
  • Collaborate
  • Be a student of the game
  • Fail

All about You Juice squeeze imageAll these things naturally happen when you have a solid goal and you are REALLY supposed to be there; you find a way to win. Its all about YOU. When YOU really HAVE to be there, the proverbial juice is worth the squeeze.

 

 

You have to be willing to weather:

  • Many storms
  • Speed-bumps
  • Setbacks
  • Rejection
  • Devastation
  • Abandonment
  • Assholes
  • Incompetence
  • Paradigm shifts
  • Massive strategic changes
  • Band member changes
  • Betrayal
  • Haters
  • Bad press
  • Passive aggressive Douche-bags

Its all about YOU

Just like you would do ANYTHING to physically survive (i.e. food, shelter, water, oxygen); the same goes for your career.

  • Are you waiting around for someone to come discover you need to eat or do you go find food?
  • Are you waiting around for someone to discover that you need water or do you find a way to hydrate?
  • Are you waiting around for someone to discover you need shelter from the crappy cold snap we just had or have you already found a way to shelter yourself?
  • Are you waiting around for someone to knock on your door and discover that you need a job or have you found work?
  • Are you waiting to be discovered as an artist or are you finding a way to make it happen?

Creating, performing, and simply existing in the artistic community is JUST as essential as breathing for any real artist. I have literally tried SEVERAL times to hang it up (and been very successful in other fields) but I never could leave the music business; its in my blood. I always had a studio in my house. I always maintained my music business relationships.

Unless youre an invalid nobody is going to constantly babysit you for too long, ensuring you eat, sleep, drink, eliminate, shower, work, etc., you have to find a way to do these things for yourself; your survival is all about YOU.

Why the hell do so many so-called artists act like invalids? Why do they believe their existence as artists relies on anyone else other than themselves? Why do so many so-called artists dream to become invalids where they get a big break and press the EZ Button while their entourage dotes over their every need? This doesnt happen in real life and it certainly doesnt happen with real artists.

I dont get it.

All about You How do you do you imageSo my answer to the question, What does it take to have a successful music career like so and so? is the one thing artist love to hear the most!

ITS ALL ABOUT YOU.

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Top 10 Cover Songs

Cover Songs Feature image

By Johnny Dwinell

Kelly and I are so busy with the marketing and record production duties of Daredevil Production, we don’t get that much of a chance to listen to cool new music.  Enter my cool brother-in-law Randy Ahrens.  Randy is an unusual music consumer, in fact, he is what I have referred to in previous posts as a “Local Tastemaker” and statistically he represents a VERY miniscule part of the music marketplace with regards to purchasing and behavior, but he is extremely influential.  He goes looking specifically for new music on a regular basis via all those crazy algorithm widgets the different music sites use to “market” new music i.e. the “rabbit hole” and “if you like this then you’ll like this” etc..  He’s the guy you grew up with who had all the cool new records and turned you on to all the music that shapes your life.  Randy is to his friends and family what Thom Doucette was to Gregg and Duane Allman; Thom always had the cool records and to some degree shaped the Allman Brothers Band sound by exposing the brothers to the artists that would become their primary influences.

Cover Songs

Whenever our family gets together, Randy and I try to find a little “geek out” time where we turn each other on to the music we have; he shows me new bands and tracks, I show him what Kelly and I have been producing.  Cover Songs Tastemaker lips imageThis last week, up in WI, Randy and I got into a discussion about lame cover song recordings (you may remember my post “How to Record a Cover”)  In it I encouraged artists to be creative and to avoid the lame artistic act of “re-recording” of a cover song copping the exact same licks, tracks, BGV;s, feel, vibe, etc.  Well Randy turned me on to some covers that were not necessarily released in 2013 but I was certainly turned on to them last week.  So here is a list of the top 10 cover songs (that I was turned on to by Randy this year, LOL).  Check these bands out, very interesting and CERTAINLY artistic!

 

Top 10 Cover Songs

  1. Ring of Fire – Social Distortion – When you record a cover, especially a well known cover/mega hit song you better bring something different to the table.  Listen to this track and you can definitely hear the stylistic influence of the band.  Yes it’s a heavier version, but it’s so “Social Distortion” and cool it works.
  2. Sweet Child ‘O’ Mine – Luna – Cover Songs Luna Sweet Child imageThis track rocks.  The vibe is totally different.  The feel is different.  The vocal is an octave lower and clearly the singer took some artistic license with regards to melody and phrasing and decidedly DIDN’T try to cop any of W. Axl Rose’s vocal licks which is refreshing.  Also note that the band eliminated the break down “Where Do We Go Now” portion of the song, it’s these kinds of structural and sometimes melodic artistic licenses that make a cover special
  3. All Mixed Up – Red House Painters – Cover Songs Red House Painters imageWow, this version really spotlights the desperation in the lyrics…it’s almost hard to believe it was a pop song.  I dug this band so much, I listened to more and the Red House Painters CRUSHED it with this next cover.
  4. Long Distance Runaround – Red House Painters – Once again, the Red House Painters bring a very different perspective to a very popular song.  So creative and cool.
  5. Little Wing – Stevie Ray Vaughn – ok so I definitely knew about this cover, but it came up in my conversation with Randy this last week.  This was just such a good idea and so well done, I had to include it.Cover Songs R U A Tastemaker image
  6. Stairway to Heaven – Stanley Jordan – While we’re on the subject of instrumental versions of popular songs, here is a great one with Stanley Jordan.  Enjoy it.
  7. Solitary Man – Crooked Fingers – This is an interesting interpretation, completely different!  Mostly Banjo and a horn section…crazy.  Great song by Neil Diamond.
  8. Miss You – Mirwais – Cover Songs Mirwais imageThis is a killer version of this classic.  TOTALLY Different!  I enjoyed this immensely!  Have fun!
  9. Raspberry Beret – Hindu Love Gods – This track features Warren Zevon on vocals and the members of R.E.M. in the band.  Here is where you can get away with almost any instrumental arrangements if your vocalist is stylistic enough to make people forget about the original track!
  10. Any William Shatner Cover – You either like this or hate this, but this is a very strong example of someone bringing their very stylistic approach to some killer songs and making an effort to create a vastly different perspective.

With any cover song, the most important part of the equation is YOU as an artist!!  Not how well you can cop the original tracks man!  Happy New Year and I hope you enjoy these as much as I did!  May you all get closer to your dream in 2014!

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What’s Your Frame Of Reference?

Frame of reference feature image

By Johnny Dwinell

What’s your frame of reference?

What’s your frame of reference? Your frame of reference dictates your experiences, perceptions and, subsequently, will dictate your decisions and strategic planning. If you want to be successful in any business (especially the music business) you need to ensure that you have an accurate frame of reference. As human beings (especially in the music business), we develop feelings towards certain viewpoints and perceived situations that are certainly strong but often based on inaccurate information. Once you have an accurate frame of reference, it’s quite amazing how much your thinking process will change, which changes your decision-making process, which changes how people respond to you, which changes your experiences, which determines your level of success.

So let’s demonstrate how MUCH a change in your frame of reference can completely reverse your mood, perception, outlook, and the ensuing action you take to deal with a situation. I have a phenomenal story that will exhibit my point precisely. You should know this never happened to me directly, rather I heard it at a seminar and to make the story work, it must be told in the first person, so allow me to do so now.

Frame of Reference

When I first started my new sales job I put up a vision board to remind me and motivate me towards my long and short term goals. One of the pictures on my awesome vision board was a photo of my dream car, the holy grail on the whole board, a new model cherry red Corvette Z06. For 3 years I tirelessly worked, looking at that vision board every day and day-dreaming about the day I would get my prize, that amazing driving machine. Well, that day came. HOLY CRAP, was I excited!! This was the ultimate trophy of my hard work. Purchasing this car meant that I was a success and I executed my business affairs with precision. I worked hard every day and saved every week to afford this reward. I EARNED THIS CAR! So there I am at the dealership, finalizing the deal, my heart pumping harder and harder in anticipation of getting behind that wheel. Then it happens and I proudly drive off the lot.

My first thought was to take it up to Mulholland Drive on the very top of the Hollywood Hills. The weather was lamborghiniperfect, my windows were down, there was absolutely no traffic, I was CRANKING my premium sound system. You couldn’t possibly knock the smile off my face. I was savoring every second of my victory and the incredible views of the L.A. basin and the San Fernando Valley that Mulholland provides. Then I came around a bend and saw a kid ahead in the distance. It looked like he was holding an object of some sort and he was definitely staring at me. As I drove closer, I could see the object was actually a huge rock. This kid was maybe 15 years old. I was wondering why he had a rock and why was he staring at me? As I drove closer, a minor panic attack set in as I witnessed this punk cock the arm that was holding the huge rock. I was in such a good mood, it just didn’t occur to me that this kid had any bad intentions. I didn’t want to believe it. Yes, his eyes never left my brand new vehicle. What the hell was he doing? Playing with his friends? Trying to toy with me? Trying to scare me? He didn’t look thuggish at all so I still couldn’t connect the dots.

Then it happened. BOOM! That punk ass kid hauled off and LAUNCHED that rock at my brand new cherry red Corvette Z06. Life surreally went into slow motion. There was nothing I could file000996461003do! I felt so VIOLATED even before the rock hit. He had been tracking me for at least a few hundred yards waiting for me to get close enough to ensure that the rock was going to hit its intended target: my trophy!! It seemed to take forever as I watched the rock fly towards me with a perfect arc. This kid had a good arm! It first hit on the hood of my beloved ride, chipping the paint and skipping off to CRUSH my windshield.

WTF!!! I STOOD on the brakes and pulled the car over. My face was as red as a chili pepper! As I got out of the car I looked at this kid and noticed he wasn’t running or laughing. I turned to my right to survey the damage from the rock. I went from feeling absolutely dumbfounded to unbelievable hostility. I wanted vengeance! At this moment, I turned to my left, my eyes on fire, sweating, breathing heavily and TOTALLY charged up on adrenaline. I was gonna walk across the street and throttle this kid. I was prepared to chase him FOREVER and beat him within inches of his life. This kid knew this, too, but he still wasn’t scared; he still wasn’t moving. Why wasn’t he scared? I walked towards him with a Sasquatch-like gait, my fists clenched so hard I could have turned coal into diamonds from the pressure! I was staring this kid down, blind from rage, he wasn’t moving. All I could think of was how exactly I was going to kill this kid and why the hell wasn’t he scared?

I got right up in this punk’s face and just started screaming at the top of my lungs. “What the hell is wrong with you? I’m gonna KILL YOU, YOU *$&%@ SON OF A BITCH!!! I just bought that car!!! Do you have ANY IDEA how much I worked to EARN that car??”

He responded, “You don’t understand, I think my friend is dying! He’s definitely injured. He lost control of our car and went over the ledge.” He pointed down the steep hill off the side of Mulholland. He enthusiastically continued, “I tried to flag people down several different times and nobody would stop. Throwing the rock was the only way I felt I could get your attention, PLEASE HELP US!” In those four sentences my frame of reference completely changed from one of rage and violent hostility to absolute compassion as I dialed 911 to help those poor kids.

Wow.

When I heard that story, it blew my mind. This kid tried and failed several times to bring the necessary attention he required to get someone to perform for him in a fashion that would hopefully save his friend’s life.

Do you have accurate information on how the music business really works?

What’s your frame of reference on your career?

Are you angry and frustrated because you thought it would be easy?

Are you overly confident about your abilities and turning people off?

Are you working hard enough to get the attention you need?

Maybe you need to start throwing rocks.

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